BA Photography · FRAGMENTED · Graduate Publication 2024

FOREWORD / RHAGAIR

This publication showcases the work of USW’s BA Photography Graduates 2024, a three-year course delivered from our impressive purposebuilt campus right in the heart of Cardiff. As course leader of this ambitious and contemporary course in Photography, I invite you all to spend some time engaging with the rich and diverse projects featured.

It has been a privilege and a pleasure for our staff team to work with these students over the last three years and we wish them all well as they embark on their bright and promising futures, whilst we look forward to welcoming the next generation; so if you’re interested in studying with us and becoming part of our community of learners working to shape the future of photography and visual culture, please get in touch through the USW website.

LOUISE INNISS 02 / ANIA BEMBEN 08

CHARLIE LOCKWOOD 12

CHLOE DYMOND 16

LUCY THORPE 20 / LOUISA WEBB 24

STEVIE SELLERS 30

JOSHUA JONES 34 / RHYS WYNNE 40

RIANNA SUTTON 44

ALEX HOLLAND 48 / EMILY SMITH 52

LUCINDA COTTIER 56

LIAM ANTHONY 60

Peter Bobby: Course Leader BA Photography

Mae’r cyhoeddiad hwn yn arddangos gwaith Graddedigion BA Ffotograffiaeth PDC 2024, cwrs tair blynedd wedi’i gyflwyno o’n campws trawiadol pwrpasol yng nghanol Caerdydd. Fel arweinydd y cwrs uchelgeisiol a chyfoes hwn mewn Ffotograffiaeth, fe’ch gwahoddaf i dreulio ennyd yn mwynhau’r prosiectau cyfoethog ac amrywiol.

Bu’n fraint ac yn bleser i’n tîm staff weithio gyda’r myfyrwyr dros y tair blynedd diwethaf a dymunwn yn dda iddyn nhw ar drothwy dyfodol disglair ac addawol. Ar yr un pryd, edrychwn ymlaen at groesawu’r genhedlaeth nesaf; felly os oes gennych chi ddiddordeb mewn astudio gyda ni a dod yn rhan o’n cymuned sy’n gweithio i lunio dyfodol ffotograffiaeth a diwylliant gweledol, cysylltwch â ni drwy wefan PDC.

Peter Bobby: Arweinydd Cwrs BA Ffotograffiaeth

LOUISE INNISS DARTITIS

Investigating the world of darts and close familial relations, Louise Inniss has created a performative piece of work that is both sentimental and commemorative. Dartitis is a condition that can affect darts players. It refers to a psychological disorder in which players struggle with their technique and the ability to let go of their darts.

With a blend of personal objects, archival images, and modern recreations, Inniss has constructed a series of images in memory of her late grandfather’s rich history within the British Darts Organisation. Inniss seeks to combine memory with the desire to connect, drilling deeply into the complexity of loss.

Dartitis serves as a rejoinder to us all to seek out and appreciate your family history.

Inniss has constructed a series of images in memory of her late grandfather’s rich history within the British Darts Organisation.

ANIA BEMBEN POMIĘDZY

Ania Bemben’s project Pomiędzy encapsulates the intricate narratives of a teenager’s life through the lens of a mother’s perspective. It delicately navigates this transitional phase of adolescence. For the teenager, it is the period between childhood and adulthood. For the mother, it is a time when her role as a mother is changing. It can be challenging for both. Adeptly, the photographer crafts each photograph as a window into this rich narrative, inviting viewers to immerse themselves in the complex emotions and experiences of adolescence. At times, it feels like we are peeking into their world.

In some portraits, the teenager’s gaze towards the viewer suggests: ‘I see you, don’t look at me’ or ‘What do you want?’

Through subtle yet powerful visual cues, Bemben captures the essence of teenage defiance and vulnerability, prompting introspection and empathy from the audience.

Pomiędzy encapsulates the intricate narratives of a teenager’s life through the lens of a mother’s perspective.

CHARLIE LOCKWOOD TRANSMISSION >

Transmission is a documented site-sensitive exploration combining film, movement, sound, and live performance. The filming took place at Lavernock Battery, South Wales.

In 1863 Guglielmo Marconi set up the first wireless transmission from Lavernock Point to reach Flat Holm.

The Gun Emplacement HD Video, 15:37min (loop)

In Transmission, Lockwood uses the site to explore senses that arise through the body in confined and open spaces within the fort. Each sequence is situated within four rooms of the military infrastructure, which encourages a different embodied response. These movements are recorded in real time, encapsulating the authenticity of the conscious body unfolding. Lockwood uses white body paint to represent a state of neutrality, a place that represents emptiness and fluidity. Her exposed skin acts as an interface prompting spontaneous movements that range from slow to steady, trembling and pulsating, gesturing temporal states of fragility and strength. This visceral performance invites viewers to consider what is being received and transmitted. Additionally, the work raises questions regarding the contemporary concerns of globalisation, human suffering, and isolation.

The Barracks HD Video, 03:06min (loop)

In Transmission, Lockwood uses the site to explore senses that arise through the body in confined and open spaces within the fort.

Inside the Barracks HD Video, 09:46min (loop)

The Bunker HD Video, 3:12min (loop)

CHLOE DYMOND

AN UNKNOWN BEAUTY

Creating abstract imagery that forces viewers into questioning what it is they are looking at, Chloe Dymond’s project An Unknown Beauty uses skin and its imperfections as a template to present ideas about micro-health and a more macro, universal view of ideas around beauty and wellbeing. She has used the imagery to challenge received notions of the beautiful and the natural by taking detailed images of the skin and its imperfections and then abstracting them in a variety of ways to suggest deep space in all its grandeur. There is a clear correlation within the work between the beauty of the constellations and the often overlooked perception of wellbeing that is encapsulated within one’s own skin.

Imagery to challenge received notions of the beautiful and the natural by taking macro images of the skin and its imperfections and then abstracting them in a variety of ways to suggest the night sky in all its grandeur.

LUCY THORPE COLOUR REMIX

Lucy Thorpe has created a visual feast for the eyes in Colour Remix. Centred on the concept of Dopamine Fashion and music, Thorpe has curated a series of self-portraits in colourful clothing while dancing to K-pop music, a style of music she is particularly affected by. Each outfit is monochromatic and reflective of the colours of the rainbow; this is to simulate a rush of Dopamine, the happy drug. In doing this, she demonstrates how the use of colours and music can enhance your mood and even your quality of life. Complimentary colours have been researched and utilized to truly have an emotional impact on the viewer and this work has been created to test that out!

The use of colours and music can enhance your mood and even your quality of life.

LOUISA WEBB COCOON

A small village in Suffolk would appear to be an ideal community for a young girl to grow up in. Louisa Webb’s bookwork Cocoon seeks to complexify that view. Much like a silky cocoon this small community preserves and swaddles from the kind of disruption that outside influences and progression might provoke, and, whilst no one is saying so out loud, there is a specific mould that women must inhabit. The process of conforming to this expectation can be uncomfortable for many, like Webb, who call this village ‘home’.

This work highlights ritual and repetition and alludes to the impact of traditional archetypes and unspoken expectations of what a woman should be and look like—battling stifling feelings of passive order and control result in the conflicting feelings underpinning this work.

Much

like a silky cocoon this small community preserves and swaddles from the kind of disruption that outside influences and progression might provoke.

Battling stifling feelings of passive order and control result in the conflicting feelings underpinning this work.

STEVIE SELLERS

A QUEEN WILL ALWAYS TURN PAIN INTO POWER

Stevie Sellers has engaged the niche genre of boudoir photography in her series A Queen Will Always Turn Pain into Power to upend expectations and showcase that all women, in any situation, can be bold, can be fierce and can be empowered.

The images were created to celebrate the female body in a stylized studio form, with dramatic lighting, aimed at creating a sense of sensuality for the individual. She created and achieved portraits of empowerment that encouraged the women to feel confident and respected in their own skin. Her relation to these particular women is central to the success of the work, in which these ladies have an experience that was emotional resulting in pictures they adored.

The images were created to celebrate the female body in a stylized studio form, with dramatic lighting, aimed at creating a sense of sensuality for the individual.

Welsh writer Joshua Jones responds to the graduating students’ disparate and uniquely crafted visual voices with this poetic and evocative prose poem, drawn from each contributors own supporting text.

the energy of a photograph analyses blames captures creates curates commemorates communicates defines demands disrupts dominates exposes explores enhances evolves evades evokes generates illustrates inherits influences informs invites juxtaposes manipulates preserves performs prompts redefines resists responds subverts transforms a question (the future)

is as (un)natural as the act of walking,

I have been travelling through temporal states, spatial dimensions, various places (all concrete) unravelling the ~ chaotic ~ impact of images on history (my history) this body presents you with the complexity of trauma and grief and bereavement and death and loss

through —— character —— & style —— striking

Mae’r awdur o Gymru, Joshua Jones, yn ymateb i leisiau gweledol amrywiol, unigryw a chrefftus y myfyrwyr sy’n graddio, gyda’r gerdd ryddiaith farddonol a swynol hon, wedi’i hysbrydoli gan eiriau’r cyfranwyr eu hunain.

egni ffotograff

ailddiffinio archwilio beio cadw cipio coffau creu curadau cyfathrebu cyfoethogi cyfosod cynhyrchu dadansoddi darlunio datgelu diffinio dominyddu dylanwadau esblygu etifeddu gwahodd gwrthsefyll gwyrdroi llywio manipiwleiddio mynnu osgoi perfformio tarfu trawsffurfio ymateb ysgogi

Mae cwestiwn (y dyfodol)

mor (an)naturiol â’r weithred o gerdded,

Bûm yn teithio

drwy bethau’r byd, mannau gofodol, amrywiol ardaloedd (concrid i gyd) yn datod effaith ~caotig~ delweddau ar hanes (fy hanes)

mae’r corff hwn yn cyflwyno i chi gymhlethdod trawma a galar a phrofedigaeth a marwolaeth a cholled

drwy —— gymeriad — ac arddull —— yn taro’r

the image with fragility and strength

demanding empathy from the everyday world every peeking gaze

highlighting daily rhythms underlining atmosphere between clinical care / institutional spaces / my home

eyesight without aid sculpted by the nature of play

using visual techniques recreating (referencing) desire:

• To connect

• To investigate the familial

• To make absent the presence of nostalgia

• To drill deeply into things, people considered big

• To seek out and appreciate the complexity of loss of skin untouched

I intend to replicate this feeling of stillness is prevalent within my family.

—I don’t have many memories —

Sometimes I get a bit sentimental!

ddelwedd gyda breuder a chryfder

yn mynnu empathi gan y byd beunyddiol pob golwg a sbec

yn adlewyrchu rhythmau dyddiol, y gofod rhwng gofal clinigol / y sefydliadol / fy nghartref

golwg heb gymorth wedi’i siapio gan natur chwarae

defnyddio technegau gweledol i ail-greu (cyfeirio) awydd:

• Cysylltu

• Ymchwilio’r cynhenid

• Absenoli presenoldeb hiraeth

• Treiddio’n ddwfn i bethau, pobl a ystyrid yn fawr

• Chwilio am a gwerthfawrogi cymhlethdod colli croen heb ei gyffwrdd

Fy mwriad yw ail-greu’r ymdeimlad o lonyddwch mor gyffredin yn fy nheulu.

—Does gen i ddim llu o atgofion —

Weithiau, rwy’n teimlo i’r byw!

I have begun to find my etifeddiaeth1 The presence of land, over which constellations translate the language of stars —

—My mother, my father, my grandfather, my son — —Gerrallt Lloyd Owen, Guglielmo Marconi — —every woman, teenager, carer, the viewer —

estroniaid heb ystyr i’w hanes

A small village surrounding Me captured within the image silky landscapes, naked suffocating the need to inhabit a body a family of work the ritual of creating the effects of order of control of battle of love of home

Every photograph says:

I see you Don’t look at me What do you want a gesture of truth

Rwyf yn dechrau deall

fy etifeddiaeth1

Presenoldeb tir, y mae

uwch ei ben yn trosi iaith

—Fy mam, fy nhad, fy nhad-cu, fy mab —

cytserau

y sêr —

—Gerallt Lloyd Owen, Guglielmo Marconi — —pob menyw, glaslanc, gofalwr, y gwyliwr —

estroniaid heb ystyr i’w hanes

Pentref bychan o ’nghwmpas i yn gaeth o fewn y ddelwedd

yn mygu’r angen i fyw

y ddefod

effeithiau

tirweddau sidanaidd, yn noeth

mewn corff mewn teulu o waith

o greu

trefn

rheolaeth

brwydr cariad

cartref

Mae pob ffotograff yn dweud:

Rwy’n dy weld ti Paid ag edrych arnaf i Beth wyt ti eisiau

awgrym o’r gwir

RHYS WYNNE

REDEFINING HUMAN CONNECTION

Rhys Wynne delves into the intricate interplay between AI and human existence through a collection of AI-generated images titled Redefining Human Connection.

His work probes the expanding domain of AI into everyday life by suggesting a future in which we live and interact on a number of levels with AI-powered robots, presenting a disquieting portrayal of its potential omnipresence, spanning from health care to digital platforms. His work plays with our fears and expectations of what AI will mean for humanity. Nonhuman interaction is definitely on the horizon for human futures, but where will it stop? The looming spectre of AI supplanting human interaction, particularly in caregiving settings, prompts profound introspection on the nature of human connection amid rapid technological assimilation.

Non-human interaction is definitely on the horizon for human futures, but where will it stop?

RIANNA SUTTON

ETIFEDDIAETH

Rianna Sutton’s Etifeddiaeth explores a Welsh identity in a modern society. Through vibrant portraits set against the dynamic landscapes of Wales, Sutton begins to challenge conventional preconceptions and stereotypes often associated with Welshness. The carefully curated attire serves as a tool to highlight and subvert these preconceived notions, creating a striking juxtaposition between the diverse individuals, their clothing, and the environment.

Etifeddiaeth, meaning heritage, embodies a sense of pride deeply embedded in Welsh identity, a pride that continually evolves in significance. The pride within the images comes from the celebration of each individual’s uniqueness, allowing the distinct personalities that makes up a Welsh identity to radiate through, emphasising what binds themWales.

Etifeddiaeth, meaning heritage, embodies a sense of pride deeply embedded in Welsh identity, a pride that continually evolves in significance.

ALEX HOLLAND ACCOUNTABILITY

Accountability is a series of re-imagined scenarios. For Holland, school was a time of fun interactions between friends and discovering his passions for visual art. However, it wasn’t all just that. Coming from a background of privilege he was able to attend an exceptional English public school. Here he experienced behaviours that he has come to see were normalized then but unacceptable now. In this class context, coupled with the lack of awareness that is indicative of childhood, a spotlight is placed on the bullying that inevitably takes place, targeted especially at those slightly outside any perceived norms. In these studio images Holland takes on the role of all players in these carefully constructed tableaux.

A spotlight is placed on the bullying that inevitably takes place, targeted especially at those slightly outside any perceived norms.

EMILY SMITH LOVELY PLACE: A PORTRAIT OF CARE

Emily Smith’s documentary project Lovely Place: A Portrait of Care, offers an insightful and detailed glimpse into the multifaceted and complex world of caregivers, highlighting the daily rhythms and underlying challenges of these environments.

Smith’s photographs aim to capture this atmosphere, illustrating the balance between clinical care and the personal touches that make these institutional spaces more homely. Smith’s project shows that despite the crucial role that carers play in supporting people and creating a sense of normalcy, they are often undervalued and overlooked. Her images remind us that while caregiving can be intense and demanding, it is the personal connections and the simple gestures of care that genuinely help and make a difference for people.

Lovely Place: A Portrait of Care, offers an insightful and detailed glimpse into the multifaceted and complex world of caregivers.

LUCINDA COTTIER

SEEING CLEARLY

Lucinda Cottier has created a series of images that depict her eyesight without the aid of glasses in Seeing Clearly. Cottier has crafted an experience that allows the viewer to see through her eyes as she immerses herself in nature. This work is comprised of picturesque images of city parks in Wales, motivated by the contemplation of the complexity of mental health in accessible urban areas in an effort to find relaxation and tranquillity in the act of walking.

Cottier

has crafted an experience that allows the viewer to see through her eyes as she immerses herself in nature.

LIAM ANTHONY

THIS IS NOT YOUR HOME

>

Liam Anthony has created a series assembled of photographs and archival material. This Is Not Your Home is a personal project that provides us with the complexity of trauma and the nature of grief. This body of work, following a family bereavement that resulted in the loss of the primary home, introduces you to the precarious socio-political climate of today. It aims to present the feelings associated with death and loss and invites the viewer to consider their own experience.

Assembled using a range of visual approaches including documentary, portraiture and archive, and a range of strategies around display. Anthony uses these strategies to work through and make sense of complex and challenging circumstances.

This Is Not Your Home is a personal project that provides us with the complexity of trauma and the nature of grief.

Published by:

University Of South Wales

BA (Hons) Photography

University Of South Wales

86-88 Adam Street

Cardiff CF24 2FN

Please note: all work completed by our students as part of their studies is exempt from the University’s Welsh Language Standards Compliance Notice.

Copyright: © University Of South Wales, 2024 with exception of Rhys Wynne.

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means without written permission from the publishers.

The authors have asserted their rights to be identified as the authors of this work in accordance with the Copyright, Designs and Patents act 1988.

We would like to thank everybody who has supported this project.

With particular thanks to Ian Mountjoy and all at Taylor Brothers, Bristol.

ISBN: 978-1-909838-71-0

Printed by: Taylor Brothers, Bristol

Published: June 2024

Designer: Oliver Norcott

Design Concept Team: Louisa Webb, Oliver Norcott, Peter Bobby

Creative Director: Peter Bobby

Editors: Magali Nougarède / Peter Bobby

Text Editors: Louise Inniss / Dr Eileen Little

Translation: Cris Dafis

Guest Writer: Joshua Jones

Published in an edition of: 600 June 2024

Cyhoeddwyd gan:

Prifysgol De Cymru

BA (Anrh) Ffotograffiaeth

Prifysgol De Cymru 86-88 Stryd Adam

Caerdydd

CF24 2FN

Noder: Mae ’ r holl waith a wneir gan ein myfyrwyr fel rhan o ’ u hastudiaethau wedi ’ I eithrio o Hysbysiad Cydymffurfio Safonau ’ r Gymraeg y Brifysgol.

Hawlfraint:

© Prifysgol De Cymru, 2024 ac eithrio Rhys Wynne.

Cedwir pob hawl. Ni chaniateir atgynhyrchu unrhyw ran o’r cyhoeddiad hwn, na’i storio mewn system adalw, na’i drosglwyddo ar unrhyw ffurf neu drwy unrhyw fodd heb ganiatâd ysgrifenedig gan y cyhoeddwyr.

Mae’r awduron wedi datgan eu hawliau i gael eu nodi fel awduron y gwaith hwn yn unol â Deddf Hawlfraint, Dyluniadau a Phatentau 1988.

Hoffem ddiolch I bawb sydd wedi cefnogi ’ r prosiect hwn.

Diolch yn arbennig i Ian Mountjoy a phawb yn Taylor Brothers, Bryste.

ISBN: 978-1-909838-71-0

Argraffwyd gan: Taylor Brothers, Bryste

Cyhoeddwyd: Mehefin 2024

Dylunydd: Oliver Norcott

Tîm y Cysyniad Dylunio: Louisa Webb, Oliver Norcott, Peter Bobby

Cyfarwyddydd Creadigol: Peter Bobby

Golygyddion: Magali Nougarède / Peter Bobby

Golygyddion Testun: Louise Inniss / Dr Eileen Little

Cyfieithydd: Cris Dafis

Awdur Gwadd: Joshua Jones

Cyhoeddwyd mewn argraffiad o: 600 Mehefin 2024

Joshua Jones (he/him) is a queer & neurodivergent, writer & artist from Llanelli, South Wales. His multidisciplinary practice incorporates prose, poetry, photography, music and collage. His debut, Local Fires (Parthian, 2023) was shortlisted for the 2024 Dylan Thomas Prize.

Notes:

1. ‘estroniaid heb ystyr i’w hanes’ is a line from the poem Etifeddiaeth by Gerallt Lloyd Owen

Mae Joshua Jones (ef/fe/e) yn awdur ac artist cwiar a niwrowahanol o Lanelli yn ne Cymru. Mae ei ymarfer amlddisgyblaethol yn cynnwys rhyddiaith, barddoniaeth, ffotograffiaeth, cerddoriaeth a collage. Cafodd ei waith cyntaf, Local Fires (Parthian, 2023) ei gynnwys ar restr fer Gwobr Dylan Thomas 2024.

Nodiadau:

1. Llinell o’r gerdd ‘Etifeddiaeth’ gan Gerallt Lloyd Owen yw ‘estroniaid heb ystyr i’w hanes’